Vintage Old Cursive Letters
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Old Cyrillic in Unicode*
Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian. -
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald. -
Part 1: Introduction to The
PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech. -
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands. -
The 2020 Los Angeles Printers Fair
The 2020 Los Angeles Printers Fair To say 2020 has been an unusual year is certainly the grand understatement of the year! As much as all of us have been forced to live inside our boxes, the pandemic has really been an opportunity to think outside the comforts of our boxes and explore new ideas. Given that restrictions are still in place for us at the International Printing Museum, we have had to rethink how to connect with our community of creative souls who normally come together each fall for the Printers Fair. Like so many other events in our lives right now, this has meant creating a virtual experience but with a twist. So, welcome to the 12th annual 2020 VIRTUAL LOS ANGELES PRINTERS FAIR at the International Printing Museum (or in your living room or studio or apartment...). The Printing Museum team has worked hard to create an exceptional online event that captures some of the magic of visiting the Printers Fair in person; we are bringing our big tent of creative artisans to your screen this year. The Virtual Los Angeles Printers Fair is a wonderful opportunity to meet book artists, letterpress printers and printmakers and peruse their work. The beauty of this world known as Book Arts is that this is already a group thinking and working outside the modern boxes of our world, using traditional machines and methods but typically with a very modern twist. We have set up the PrintersFair.com website to give you as much of an opportunity to meet these creatives, see their shops and learn about their work. -
2007 University of Iowa
International Writing Program Annual Report 2007 University of Iowa Dedicated to the memory of Norine Zamastil Photos and graphics (from left to right) top row Kazuko Shiraishi (1976), calligraphy by Ramon Lim, Hauling and Paul Engle (1970s), Uli symbol second row from the top calligraphy by Cheryl Jacobsen, Elena Bossi (2007), Zapf dingbat, Veronique Tadjo and Mathilde Walter Clark (2006) second row from the bottom IWP participants on the Shambaugh House porch (2005), Uli symbol, Shambaugh House, calligraphy by Cheryl Jacobsen, ˆ bottom row peace sign,ˆ Arvind and Wandana Mehrotra (1971), calligraphy by Cheryl Jacobsen, Tomaz Salamun (1971) TABLE OF CONTENTS Greetings from Iowa City 2-3 The Fall Residency 4-7 Field Trips, Receptions, & Cultural Visits 8-9 Fall Residency Activities by Writer 10-12 Writer Portraits 13-15 The 40th Anniversary 16-17 Select Anniversary Schedule 18 2007 participants 19-25 The Middle East Reading Tour 26-34 Paros: The New Symposium 33-35 Program Support 37-41 Honor Roll of Contributors 42 Photos in this report are by Tom Langdon, Kelly Bedeian, IWP staff, and friends. GREETINGS FROM IOWA CITY A Letter from IWP Director Christopher Merrill. 2 The 40th session of the International Writing for writing and fellowship. Since then, the IWP Program (IWP) marked an extraordinary milestone has hosted nearly 1100 writers from more than in our program’s history. This fall, the IWP hosted 120 countries, making ours the oldest and largest forty writers from twenty-seven countries, who residency of its kind. At every turn, the IWP took part in one of the most dynamic residencies strives to connect artists; to create understanding ever. -
Live Auction Catalog
Live Auction Catalog 1 Calligraphy Session (2 Hours) Donated by Noriko and Temesgen Ready to try something new? This traditional Japanese calligraphy session holds up to 6 participants age 16 and up at Busch Center (AUUF compound). Participants submit English words of their choice and practice them in Japanese, first with pencils then with special calligraphy brushes. Three-week notice is required. 2 Etched Glass Artwork Donated by Deborah Strawn Titled "morning, morning glory". 11" x 13", etched, painted glass with found objects. 3 Buttermilk Blueberry Pancake Breakfast for Four Donated by Jim Bradley It's my Grandpa Bradley's pancake recipe, delightfully light. You can't stop eating them. Served with Wisconsin maple syrup, your choice of real or vegetarian bacon, orange juice, and a large selection of coffees and teas, decaf and regular. Coffee choices include non-machine made cappuccino and latte, made with Italian Lavazza coffee. Breakfast will be served at Jim and Sue's house. 4 Blackbirds Painting, by Melissa Blackburn Donated by Sharon Roberts Framed mixed-media painting with pastel backgrounds, by Melissa Blackburn 5 Halcyon Days Enamel Container (Unicorn in Captivity) Donated by Sharon Roberts This Halcyon Days container is 2.5" round, enameled with detail from the "Unicorn in Captivity" tapestry. 6 Chicago Style Deep Dish Pizza for Eight Donated by Carolyn Crowder Levy Menu: Charcuterie Plate, beer, wine, soft drinks, Anti-Pasta Salad, 3 deep dish pizzas, Vanilla Ice Cream with fresh Strawberries macerated in sugar and Sabra Liqueur 7 Computer Consultation Donated by Shannon Price Have the precious pages of your great American novel overloaded your computer memory? Or maybe you've worn out a few pieces of software transferring all of Grandma's recipes from yellowing index cards into Word files for your jump drive. -
Handwriting Toward a Minuscule Alphabet, It Is Written Upright and Is Considered a Majuscule Form
There is much to say about the history of writing. To encapsulate the highlights in an essay by this short essay, it is important to note that the dialectic between formal and informal Jerri-Jo Idarius styles of writing led to periods of degeneration and periods of reform and also to the differentiation between what we refer to as caps and small letters, known technically as majuscules and minuscules. The Roman formal majuscule scripts follow: Although the ascenders and descenders of the half-uncial represent the movement Handwriting toward a minuscule alphabet, it is written upright and is considered a majuscule form. is a craft in which everyone participates, After the fall of Rome, various regional styles developed in Europe but in the 8th yet few people know much about its tradition century King Charlemagne instituted one script throughout the monasteries of Europe or evolution. From the view of a calligrapher* to help unite his empire. This style, known as Carolingian, related to the Roman who has studied and mastered tradi- half uncial and Roman cursive, is the first truly minuscule alphabet. Its beauti- tional forms of handwriting, this lack of ful letters can be written straight or at an angle. A simply drawn form of caps called education is a sign of cultural loss. Most versals appeared in manuscripts of this era. elementary school teachers feel inadequate to teach penmanship, and cannot explain the relationship between the cursive Roman Square Caps (Capitalis Quadrata) handwriting they have to teach and the printed letters they see in books. Since Rustic handwriting is so intimately connected to Uncial self-image, and since most people are (used for Bibles and sacred texts) unhappy with the results of their learning, versals it is common to hear, “I hate my writing!” Carolingian minuscule & or “I never learned to write.” They don’t Medieval scripts are popularly described as blackletter, due to the predomi- know what to do about it. -
Why Cursive Writing Is Important
Parents: why is cursive (joined-up) handwriting important? Research has shown that the use of a continuous cursive handwriting style plays a significant role, not only in developing fine motor skills but also in learning spelling patterns. This is particularly important for children who struggle with spelling and find decoding writing patterns challenging. Once this skill has developed, the child should be able to recall spelling patterns with automaticity. The child can then focus on the content and structure of writing rather than the disconnected process of letter recollection. The brain thinks more rapidly and fluently in whole words than in single letters where the pen is lifted off the page much more frequently. Cursive handwriting therefore encourages fluidity of thought processes when writing and is also much quicker. This will be useful for any student in exams where time is limited. Cursive handwriting also develops hand/eye co-ordination and motor skills which can help develop skills in other areas of life and work. How can I help my daughter? Encourage your daughter to keep trying; sometimes the writing is worse before it gets better! With continuous practice using materials and guidance provided by the teacher or Literacy Co-ordinator, all pupils can learn to write cursively. Start small – 2 / 3 letter words. Join up the letters in words like ‘in’, ‘off’, ‘and’ and then progress to longer words which are well known and used frequently, like ‘then’, ‘where’ and ‘went’. Try the website www.teachhandwriting.co.uk for tips and animated examples of cursive writing. After your daughter has got used to these, encourage her to extend the style of cursive writing to all of her writing in all subject areas. -
Calligraphy Specimens Following Writing
Calligraphy Specimens following Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER In German and Latin, manuscript on paper Germany (Nuremberg), c. 1713 20 folios on paper, complete [collation i20], unidentified watermark (bisected with center lacking, crest holding 3? bezants with ornate frame, initials M and F at bottom), foliation in modern pencil in upper recto corners, text written in various calligraphic scripts in black ink on recto only, no visible ruling and varied justification, sketched decorative evergreen boughs on f. 1 and calligraphic scrollwork throughout, minor flecking and staining, some original ink blots. CONTEMPORARY BINDING, brown (once red?) brocade paper with elegant mixed floral design and traces of gold embossing, pasted spine, abrasion and discoloration but wholly intact. Dimensions 150 x 190 mm. Calligraphic sample books from the Renaissance, such as this manuscript, are far less common than their printed exemplars; this charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe’s skill in writing different types of scripts. It is partially copied from writing master Adolph Zunner’s 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE 1. Written in Germany, in Nuremberg, in 1713 or shortly thereafter, with a title page reading Gründliche Unterweisung zu Fraktur – Canzley – und Current Schrifften der lieben Jugend zum Anfang des Schreibens und sondern Nuzen gestellet durch A. <A. or Z.?> in Nürnberg Zufinden bey Johann Christoph Weigel (A Thorough Instruction in Fraktur, Chancery, and Cursive Scripts, prepared for the especial utility of dear Youth in beginning to write by A. -
Practice Masters
3 Practice Masters Illustrations by Josh Hara Copyright © Zaner-Bloser, Inc. ISBN 978-0-7367-6949-5 The pages in this book may be duplicated for classroom use. Zaner-Bloser, Inc. Zaner-Bloser, Inc., P.O. Box 16764, Columbus, Ohio 43216-6764 1-800-421-3018 Printed in the United States of America 10 11 12 13 14 13880 5 4 3 2 1 Click entry to go to specific page. Contents Practice Masters School-to-Home Activities Manuscript Review lL, iI, tT ................ 1 i, t.............................. 75 Manuscript Review oO, aA, dD............. 2 u, w ............................ 76 Manuscript Review cC, eE, fF .............. 3 e, l .............................. 77 Manuscript Review gG, jJ, qQ ............. 4 b, h ............................. 78 Manuscript Review uU, sS, bB, pP ........... 5 f, k ............................. 79 Manuscript Review rR, nN, mM, hH.......... 6 r, s ............................. 80 Manuscript Review vV, yY, wW ............. 7 j, p ............................. 8 1 Manuscript Review xX, kK, zZ.............. 8 a, d .............................. 82 g, o .............................. 83 Writing Positions: Left-Handed Writers ........ 9 c, q .............................. 84 Writing Positions: Right-Handed Writers .......10 n, m ............................ 85 Zaner-Bloser Alphabet ................... 11 y, x ............................. 86 Basic Strokes: Undercurve.................12 v, z ............................. 87 Basic Strokes: Downcurve .................13 A, O ............................. 88 Basic Strokes: -
Typography for Scientific and Business Documents
Version 1.8 Typography for Scientific and Business Documents George Yefchak Agilent Laboratories What’s the Big Deal? This paper is about typography. But first, I digress… inch marks, so you’ll probably get to enter those manually anyway.† Nothing is perfect…) Most of us agree that the use of correct grammar — or at In American English, punctuation marks are usually placed least something approaching it — is important in our printed before closing quotes rather than after them (e.g. She said documents. Of course “printed documents” refers not just to “No!”). But don’t do this if it would confuse the message words printed on paper these days, but also to things distrib- (e.g. Did she say “no!”?). Careful placement of periods and uted by slide and overhead projection, electronic broadcast- commas is particularly important when user input to ing, the web, etc. When we write something down, we computers is described: usually make our words conform to accepted rules of For username, type “john.” Wrong grammar for a selfish reason: we want the reader to think we For username, type “john”. ok know what we’re doing! But grammar has a more fundamen- tal purpose. By following the accepted rules, we help assure For username, type john . Even better, if font usage that the reader understands our message. is explained If you don’t get into the spirit of things, you might look at Dashes typography as just another set of rules to follow. But good The three characters commonly referred to as “dashes” are: typography is important, because it serves the same two purposes as good grammar.